Pictures of Mic'ed up GUITAR CABS - Page 3

Gregg Sartiano · 3rd October 2006

The big mic is the Pearlman

Moved them around to lock in phase, of course...

by-tor · 3rd October 2006

Some from a month or two ago.

by-tor · 3rd October 2006

another

by-tor · 3rd October 2006

last one..We did not record all the mics at once. =) It was a pick and choose thing.

by-tor · 3rd October 2006

Can't resist one more. The blurry thing was a shotgun mic accross the room from the VERY loud amp. It sounded pretty good. And then we blew a fuse in the amp.

absrec · 3rd October 2006

I'm a single SM57 guy. I just move it around until I think it sits in the track nicely. I sometimes use an E609 to change it up.

I like the SM57/MD421 combo but it seems like every time I use more than one mic on a cab, I find myself pulling out frequencies between 300 and 500 Hz more than usual. I mean, it sounds good when I'm tracking, but when mix time comes, it's like mud city. Anyone have the same issue?

-Aaron

midnightsun · 3rd October 2006

Field coil speaker and Manley Gold

turk sanchez · 3rd October 2006

cool thread.

doorknocker · 3rd October 2006

Quote:

Originally Posted by absrec

I like the SM57/MD421 combo but it seems like every time I use more than one mic on a cab, I find myself pulling out frequencies between 300 and 500 Hz more than usual. I mean, it sounds good when I'm tracking, but when mix time comes, it's like mud city. Anyone have the same issue?

That's clearly a phase issue. There's a great remedy for this: the Little Labs IBP (or IBP Jr.) I got some great sounds with SM57/421 or SM7/421 combos by finding the best position for each mic and then sweeping thru the phase spectrum with the IBP.

Since the IBP will be on one mic only (usually the one closest to the source but there are no rules) the beauty of the method is that even if you decide only to use one mic in the mix, the IBP won't affect it since it deals with the combination of 2 mics recording the same source.

The IBP is great for tightening up the sound, exactly what you describe in siuations where phase cancellations result in a hollow-midrange sound.
But it's not necessarily about 'perfect phase alignment' either, you might see the IBP as a kind of tone control. For multi-miced application, this is often much better than to apply EQ while tracking.

photoresistor · 3rd October 2006

Here's the setup my band ran through while we were recording guitars for our EP (colors were augmented):

- microtech gefell umt70s
- sennheiser e609s
- beyerdynamic m201 (surprised at this microphone... i bought it for snare drum but had to try it out on the guitar. had a nice, "warmer" tone than the e609s)

This is setup in my garage with the head (jcm2000) in the kitchen.

dmp · 3rd October 2006

When you use an ambient mic, which I often do (distance = depth) in combination with a close mic, are you delaying the signal of the upclose mic to match the ambient mic? If so, do you use the 1 ms delay per foot formula? Do you pay attention to DI to DAW cable length matching the mic to DAW cable length to accomodate delay as well?

dmp · 3rd October 2006

What is the best technique to check for phase when you multi-mike a cab with mikes at varying distances from the front of the cab?

DirkB · 3rd October 2006

Quote:

Originally Posted by dmp

What is the best technique to check for phase when you multi-mike a cab with mikes at varying distances from the front of the cab?

Listen and adjust until it sounds good

.

Greetings,
Dirk

dmp · 3rd October 2006

What is the best way to check for phase during multi-miking a cab from the front?

Gregg Sartiano · 3rd October 2006

Set 'em up into different tracks on PT.

Get the levels kinda matched.

"Click" a single string mute -- high string, tight mute -- so you get a sharp waveform.

Zoom WAAAAY in on the waveform -- see where the waves hit or crest/trough differently? They should be somewhat different because they're different mics, but if the crests + troughs are consistently ahead/behind each other, move the "behind" mic forward (or the "ahead" mic back).

Repeat until the waves match.

Then put one of the pres out of phase & match volumes until they get close to nulling out -- there should be a major drop in level when you phase-out the mics.

Put 'em back in phase, and it should (hopefully) sound "like" the amp, or "good," or SOMETHING. If it's wack, strip it down and start over.

This is the way I do it, anyway.

Alexi · 4th October 2006

Quote:

Originally Posted by by-tor

Can't resist one more. The blurry thing was a shotgun mic accross the room from the VERY loud amp. It sounded pretty good. And then we blew a fuse in the amp.

the look of this tracking room is spinning me out

Mike Douaire · 4th October 2006

I love this thread, it's freakin badass. Keep all them pictures coming.

by-tor · 4th October 2006

Quote:

Originally Posted by Alexi

the look of this tracking room is spinning me out

Why?

Oroz · 4th October 2006

Guitar cab mic'ing on a record I'm producing (will post some songs later on so you can give me your opinion). At first there was a 57 also but after some tests I got the sound I was looking for with just the R-122, sounded great but in mixdown I did had to EQ it.

DirkB · 7th October 2006

Amp: Naylor
Cab: Borger 4x12

Miced with a royer R-121 (dead center on the cone of the speaker, about 4" back) into a chandler TG2 and a Distressor on opto with 2-5dB of gain reduction (slow attack, faster release) on the clean parts.

We recorded everything from moderately clean to grunch to full on dirt guitars, no eq needed in the mix on any tracks, apart from some functional high-end roll of on some of the wah wah parts or "distant" guitar parts.

Best sound I got ever.

Greetings,
Dirk

picksail · 7th October 2006

God, what was I thinking...

I was such an engineering geek back then.

max cooper · 7th October 2006

Quote:

Originally Posted by midnightsun

Field coil speaker and Manley Gold

OK, I have to know about this speaker. Maybe a new thread? Where do I find one? I've heard about the Western Electric but never seen or heard one.

tedcrop · 7th October 2006

Quote:

Originally Posted by studjo

this is the only pic I've found - I'll take more next time

mic Royer 121 and Senneiser 421
used mostly the Royer

Cool classis 30. I put the Tungsols in it and it sounds pretty good.

tedcrop · 7th October 2006

Quote:

Originally Posted by dmp

What is the best technique to check for phase when you multi-mike a cab with mikes at varying distances from the front of the cab?

King's X @ WireWorld

read a little down in the post..

tubedude · 7th October 2006

Quote:

Originally Posted by Gregg Sartiano

Set 'em up into different tracks on PT.

Get the levels kinda matched.

"Click" a single string mute -- high string, tight mute -- so you get a sharp waveform.

Zoom WAAAAY in on the waveform -- see where the waves hit or crest/trough differently? They should be somewhat different because they're different mics, but if the crests + troughs are consistently ahead/behind each other, move the "behind" mic forward (or the "ahead" mic back).

Repeat until the waves match.

Then put one of the pres out of phase & match volumes until they get close to nulling out -- there should be a major drop in level when you phase-out the mics.

Put 'em back in phase, and it should (hopefully) sound "like" the amp, or "good," or SOMETHING. If it's wack, strip it down and start over.

This is the way I do it, anyway.

That wont work really unless the mics are the same distance from the source. If one is closer than the other, the time difference in freqs will not align that way. IBP or the free phase plugs from Tritonedigital or Voxengo are your only real route sans moving the mic until it sounds good.

Wes Kuhnley · 7th October 2006

****in scary....I don't know much, but I do know if I had paid $1500 for a 121 or 122, THERE IS NO WAY IN HELL IT WOULD EVEN BE IN THE SAME ROOM AS A GUITAR AMP, much less 4" away from the damn speaker...say what you will about SPL handleing, I guess I'd just like to be able to use my gear in 30 years...

Curtis Franklin · 7th October 2006

You are right.... you dont know much.....

The Royers can take it.... They are no SM57, but they can take high SPL like MFers. I don't know if I would try it with a traditional reconditioned ribbon... but I don't know much.

Wes Kuhnley · 7th October 2006

Quote:

Originally Posted by pumadrum

You are right.... you dont know much.....

wow. I have had EXTENSIVE expirience with Royers...just saying I wouldn't endanger a close-to-$2000 investement by stickin in in front of a ****in Marshall, that's what a $100 dynamic mic is for. They may be able to handle the SPL now, and for years in the future, but if I spent that amount of dough on a mic, I'd make for damn sure that it would last for 25-30 years. With the sole exception of a SM57, NO MIC in the world will last that long in front of guitar cabs...

AmekGuy · 8th October 2006

TLM103

Poopants · 8th October 2006

Quote:

Originally Posted by tubedude

That wont work really unless the mics are the same distance from the source. If one is closer than the other, the time difference in freqs will not align that way. IBP or the free phase plugs from Tritonedigital or Voxengo are your only real route sans moving the mic until it sounds good.

Yes it will, that's why you MOVE the tracks until they line up, you fix the fact that one mic is getting the signal later than the other. This works very well and can make amps sound huge...IBP and Phasetone work well to but it's a different kind of thing. I have both BTW and I also align the tracks

3rd October 2006	#61
Gregg Sartiano Lives for gear Join Date: May 2004 Location: Lost Angeles Posts: 1,804	The big mic is the Pearlman Moved them around to lock in phase, of course... Attached Thumbnails __________________ "We need to legitimize peer-to-peer sharing as a business model, because it's already a business. If [the P2P companies] are going to make money on us, we should have a chance to make money along with them." -- Perry Farrell on the failure of national intellectual property policy to keep up with the rapid evolution of online media "Every Internet transmission of a musical work constitutes a public performance of that work. " http://www.ascap.com/weblicense/webfaq.html

3rd October 2006	#62
by-tor Lives for gear Join Date: Mar 2006 Location: SF Bay Area Posts: 606	Some from a month or two ago. Attached Thumbnails

3rd October 2006	#63
by-tor Lives for gear Join Date: Mar 2006 Location: SF Bay Area Posts: 606	another Attached Thumbnails

3rd October 2006	#64
by-tor Lives for gear Join Date: Mar 2006 Location: SF Bay Area Posts: 606	last one..We did not record all the mics at once. =) It was a pick and choose thing. Attached Thumbnails

3rd October 2006	#65
by-tor Lives for gear Join Date: Mar 2006 Location: SF Bay Area Posts: 606	Can't resist one more. The blurry thing was a shotgun mic accross the room from the VERY loud amp. It sounded pretty good. And then we blew a fuse in the amp. Attached Thumbnails

3rd October 2006	#66
absrec Lives for gear Join Date: Aug 2005 Location: Atlanta, Georgia Posts: 1,138	I'm a single SM57 guy. I just move it around until I think it sits in the track nicely. I sometimes use an E609 to change it up. I like the SM57/MD421 combo but it seems like every time I use more than one mic on a cab, I find myself pulling out frequencies between 300 and 500 Hz more than usual. I mean, it sounds good when I'm tracking, but when mix time comes, it's like mud city. Anyone have the same issue? -Aaron __________________ If you don't spank it, you can't crank it!

3rd October 2006	#67
midnightsun Lives for gear Join Date: Jan 2005 Location: Alaska Posts: 1,370	Manley Gold and field coil speaker Field coil speaker and Manley Gold Attached Thumbnails

3rd October 2006	#68
turk sanchez Lives for gear Join Date: Jul 2005 Location: Austin Posts: 946	cool thread.

3rd October 2006	#70
photoresistor Gear maniac Join Date: Jul 2006 Location: Portland, OR Posts: 163	Here's the setup my band ran through while we were recording guitars for our EP (colors were augmented): - microtech gefell umt70s - sennheiser e609s - beyerdynamic m201 (surprised at this microphone... i bought it for snare drum but had to try it out on the guitar. had a nice, "warmer" tone than the e609s) This is setup in my garage with the head (jcm2000) in the kitchen.

3rd October 2006	#71
dmp Gear Head Join Date: Nov 2005 Posts: 33	miking picts When you use an ambient mic, which I often do (distance = depth) in combination with a close mic, are you delaying the signal of the upclose mic to match the ambient mic? If so, do you use the 1 ms delay per foot formula? Do you pay attention to DI to DAW cable length matching the mic to DAW cable length to accomodate delay as well?

3rd October 2006	#72
dmp Gear Head Join Date: Nov 2005 Posts: 33	miking picts What is the best technique to check for phase when you multi-mike a cab with mikes at varying distances from the front of the cab?

3rd October 2006	#74
dmp Gear Head Join Date: Nov 2005 Posts: 33	miking picts What is the best way to check for phase during multi-miking a cab from the front?

4th October 2006	#77
Mike Douaire Gear addict Join Date: Jun 2006 Location: Fairfax, VA Posts: 337	I love this thread, it's freakin badass. Keep all them pictures coming.

4th October 2006	#79
Oroz Lives for gear Join Date: Oct 2005 Posts: 1,338	Guitar cab mic'ing on a record I'm producing (will post some songs later on so you can give me your opinion). At first there was a 57 also but after some tests I got the sound I was looking for with just the R-122, sounded great but in mixdown I did had to EQ it.

7th October 2006	#80
DirkB Lives for gear Join Date: Jul 2003 Location: Netherlands Posts: 1,703	Amp: Naylor Cab: Borger 4x12 Miced with a royer R-121 (dead center on the cone of the speaker, about 4" back) into a chandler TG2 and a Distressor on opto with 2-5dB of gain reduction (slow attack, faster release) on the clean parts. We recorded everything from moderately clean to grunch to full on dirt guitars, no eq needed in the mix on any tracks, apart from some functional high-end roll of on some of the wah wah parts or "distant" guitar parts. Best sound I got ever. Greetings, Dirk Attached Thumbnails __________________ -progress takes away what forever took to find- Dave Matthews

7th October 2006	#81
picksail Lives for gear Join Date: Nov 2002 Location: Hollywood Posts: 3,632	God, what was I thinking... I was such an engineering geek back then.

7th October 2006	#86
Wes Kuhnley Lives for gear Join Date: Feb 2006 Posts: 596	****in scary....I don't know much, but I do know if I had paid $1500 for a 121 or 122, THERE IS NO WAY IN HELL IT WOULD EVEN BE IN THE SAME ROOM AS A GUITAR AMP, much less 4" away from the damn speaker...say what you will about SPL handleing, I guess I'd just like to be able to use my gear in 30 years... __________________ Resonant Electronic Design "If you want to make an apple pie from scratch, you must first create the universe." -Carl Sagan

7th October 2006	#87
Curtis Franklin Lives for gear Join Date: Jun 2005 Location: Southern California Posts: 579	You are right.... you dont know much..... The Royers can take it.... They are no SM57, but they can take high SPL like MFers. I don't know if I would try it with a traditional reconditioned ribbon... but I don't know much. __________________ --------------------------------------------------- Curtis Franklin - Owner www.phantom48.com - proudly sells: Antares, Blackout Effectors, Brainworx, Flux, Hosa, iZoptope, On-Stage, Presonus, Softube, Sonnox, SoundToys, SPL, Suhr, TC Electronic, Waves, and more. A better deal is only a pm away.

8th October 2006	#89
AmekGuy Lives for gear Join Date: May 2006 Posts: 741	TLM103

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